The festival’s greatest singularity is two-fold: its lack of pretense and judicious curatorial eye.
If Sin City’s construction is wholly self-aware, its deliberately affected performances wisely forgo winks to their own outlandishness.
Mondovino is a remarkably focused docu-essay, beckoning audiences to form their own opinion on a complex and timely topic.
em>South of the Clouds seems to exist only to satisfy its maker.
Abdellatif Kechiche’s film scarcely starves for intensity.
Fret not if you couldn’t get to Park City this year, the New Directors/New Films series brings Park City to you!
The film isn’t so much about Johnston’s madness as it is about the way the people in his life have learned to deal with it.
Clorox, Ammonia and Coffee! is considerably less miserable than Free Radicals, but it’s also more schematic.
Nina’s Tragedies exhibits scant political subtext throughout its tale of romance, obsession, heartache, and the therapeutic effects of love.
The film radically and experimentally dramatizes the horror of the refugee experience and the strain it has on the human spirit.
In spite of its formalist rigor and attention to the relationship between abuser and abused, the film talks down to its audience.
The Ring Two doggedly treads familiar soggy ground.
It partially redeems Katsuhiro Otomo’s legacy by supplying a coherent narrative to go along with its stunning imagery.
Labeling this elegant noir classic a whodunit is to ignore its masterfully complex portrait of all-consuming romantic self-delusion.
Even for an ugly-duckling-makes-good fairy tale, Ice Princess seems to stretch believability a tad too far.
Bitter Victory is far more than the sum of its images, though one can certainly understand the desire to gape.
Anna Boden and Ryan Fleck’s Young Rebels is a unique documentary experience, an intimate look at the roots of hip-hop in Cuba.
What’s the use in believing in a reality that doesn’t believe in itself?
The film is a balancing act between race-against-time melodrama and proto-naturalistic Kazan flourishes.
The film is a work of Jarmuschian deadpan obsessed with modes of freedom and expression.
Somersault prettifies the ugliness of a girl’s sexual experience after she leaves her mother’s nest.